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1. Born Digital

   “E-poetry relies on code for its creation, preservation, and display: there is no way to experience a work of e-literature unless a computer is running it—reading it and perhaps also generating it.” Stephanie Strickland outlines 11 rules of electronic poetry.

   Ana Castello - 02.10.2018 - 13:20

2. The Law of Genre

   Jacques Derrida discusses “the law of genre” – the idea that genre has
   the function of imposing norms on literary and cultural practices: “As
   soon as the word ‘genre’ is sounded, as soon as it is heard, as soon as one
   attempts to conceive it, a limit is drawn. And when a limit is established,
   norms and interdictions are not far behind: ‘Do,’ ‘Do not’ says ‘genre,’
   the word ‘genre,’ the figure, the voice, or the law of genre” (Derrida 1980,
   p. 56). In Derrida’s view, genre functions more to exclude forms of literary
   practice than to elucidate them: “… as soon as a genre announces itself,
   one must respect a norm, one must cross a line of demarcation, one must
   not risk impurity, anomaly, or monstrosity” (p. 57).

   (Source: Electronic Literature by Scott Rettberg)

   Ana Castello - 02.10.2018 - 17:47

3. The Ideology of Genre: A Comparative Study of Generic Instability

   In a series of comparative essays on a range of texts embracing both high and popular culture from the early modern era to the contemporary period, The Ideology of Genrecounters both formalists and advocates of the "death of genre," arguing instead for the inevitability of genre as discursive mediation. At the same time, Beebee demonstrates that genres are inherently unstable because they are produced intertextually, by a system of differences without positive terms. In short, genre is the way texts get used. To deny that genres exist is to deny, in a sense, the possibility of reading; if genres exist, on the other hand, then they exist not as essences but as differences, and thus those places within and between texts where genres "collide" reveal the connections between generic status, interpretive strategy, ideology, and the use-value of language.

   (Source: Penn State University Press catalog copy)

   Ana Castello - 02.10.2018 - 17:57

4. Activist Media Poetics: Electronic Literature Against the Interfacefree

   For the last year or two I’ve been focusing most of my research and writing on the notion of ‘interface’ – a technology, whether book or screen, that is the intermediary layer between reader and writing. What I’ve found is that ‘interface’ gives us a wedge to approach the broad and complex question of how the reading and writing of poetry have changed in the digital age and how the digital age has in turn changed the way in which we understand what I call “bookbound” poetry. It seems to me that a discussion of digital poetry in terms of interface – a discussion whose methodology is driven by the field of Media Archaeology – could be a crucial intervention into both poetry/poetics and media studies in that it meshes these fields together to 1) make visible the Human-Computer interfaces we take for granted everyday; and 2) to frame certain works of electronic literature as instances of activist media poetics.

   Ana Castello - 02.10.2018 - 18:39

5. Platform Studies: Frequently Questioned Answers

   We describe six common misconceptions about platform studies, a family of approaches to digital media focused on the underlying computer systems that support creative work. We respond to these and clarify the platform studies concept.

   (Source: Authors' abstract)

   Ana Castello - 02.10.2018 - 19:01

6. The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game

   The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game

   Ana Castello - 02.10.2018 - 20:57

7. Janky Materiality: Artifice and Interface

   In this paper I explore blurry intersections and cracked interfaces between page, screen and speaker, analog and digital practice. With reference to the work of Judd Morrissey and Mark Jeffery, Talan Memmott, Claire Donato, Shelley Jackson, Ian Hatcher, Brian Eno, Rob Wittig, Rachel Zolf, bpNichol, David Jhave Johnston, Young-Hae Chang Heavy Industries, Erín Moure, Douglas Kearney, Tan Lin, and others, I think about the ways digital material practice extends the post-structural field, as page-based practices are (further) destabilized by computer-based experiments. These writers treat language itself as a janky technology that works (at least temporarily) through its own failures, so that digital mediation serves to further break and rewire language operations. The “speaker” component of my research refers both to experiments with decentered (if not quite dematerialized) poetic voice, and the sonics of actual voices and other digitally mediated and manipulated sounds. 

   Akvile Sinkeviciute - 03.10.2018 - 15:49

8. Sound Poetry: A Catalogue for the Eleventh International Sound Poetry Festival

   Sound Poetry: A Catalogue for the Eleventh International Sound Poetry Festival

   Ana Castello - 13.10.2018 - 17:28

9. Letter in support of the PO.EX’70-80 project research proposal

   A letter of support of the PO.EX’70-80 project research proposal

   Hannah Ackermans - 07.12.2018 - 09:47

10. Report on PO.EX’70-80

    Funkhouser describes the PO.EX’70-80 project and highlights several elements of the database, praising the taxonomy and preservation/representation of works.

    Hannah Ackermans - 07.12.2018 - 10:07

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